Elliott Smith

Sweet Elliot... how I miss you....
A good place to start
Undertows and updating: it still works very well
Triumphant leap!
Amazing and Just Perfect

XO
Elliott Smith
Manufacturer: Dreamworks
ProductGroup: Music
Binding: Audio CD

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Figure 8
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ASIN: B00000AEF9
Release Date: 1998-08-25

Tracks:

Sweet Adeline
Tomorrow Tomorrow
Waltz #2 (XO)
Baby Britain
Pitseleh
Independence Day
Bled White
Waltz #1
Amity
Oh Well, Okay
Bottle Up And Explode!
A Question Mark
Everybody Cares, Everybody Understands
I Didn't Understand

Amazon.com's Best of 1998

Elliott Smith's fourth solo album and major-label debut, XO, brings narrative detail and a wide range of emotion to an indie meld of '60s-style rock and folk-pop. Whether in the broken stateliness of "Waltz #2 (XO)," the Sgt. Pepper tribute of "Baby Britain," or the explosions of "Amity" and "Everybody Cares, Everybody Understands," Smith's melodic and arrangement senses give his vulnerable vocals and brilliant wordcraft the maximum effectiveness. XO is a watershed in singer/songwriter rock. --Rickey Wright

Amazon.com essential recording

On XO, Elliott Smith leaves the indie doldrums behind and takes wing to new, lush surroundings. By adding full instrumentation to his acoustic reveries, Smith has ascended to a new level of songwriting that shores up his gentle voice and country-tinged guitar playing with extra layers of vocal arrangements and charming piano vamps. Strains of classic rock filter into the Beatlesque "Baby Britain" and the Beach Boys-inspired "I Didn't Understand," but Smith succeeds in adapting them to his style rather than the other way around. A foot soldier in DreamWorks' war on standard-issue rock & roll, Smith joins new label mates Rufus Wainwright and Morphine as sophisticated interpreters of the new male psyche. XO is a stunning shadow print of a soul adrift in the music industry, a dark place indeed. --Lois Maffeo

Customer Reviews:

Sweet Elliot... how I miss you...........2007-06-27

I first heard Elliot's music from the movie Good Will Hunting in 1996 or 1997 I want to say, and I went out the next day and bought every album he made. This one, by far, is my favorite next to Either/Or. Elliot had a way of perceiving the world in a different perspective. How prophetic his melanchology infinite sadness came... [He took his own life October 2003] The harmonies are haunting but ring true, there is a little slice of Beatles in the mix of that 2nd hand guitar that just plays near to my heart. Buy it... how you will not be disapointed, only when the last song fades out...

A good place to start.......2007-05-09

When you're hearing an artist for the first time, it's important to start with the right album: I firmly believe it can make the difference between becoming a die-hard fan and walking away underwhelmed. In the case of Elliot Smith, the right starting album is almost certainly "XO." Whether it's truly his best work I don't claim to know, particularly since I haven't heard all his albums yet, but it is an excellent introduction: it's (almost) instantly likeable while retaining many complexities that draw you in deeper with repeat listens. Chances are, hearing this will get you interested in his other music, and even if you end up liking only one Elliot Smith record, I'm betting that this will be it.

Also, for those who assume that Elliot Smith was one of those pretentious, self-involved adolescent artists (a la Dashboard Confessional), you couldn't be more wrong. I know, because I used to think the same thing, and I was wrong. The fact is that, even if you don't like the "intimate," "vulnerable" lyric style that people associate with Elliot Smith, you might still find plenty of reasons to like him. For one thing, the lyrics on XO contain a lot of emotion, but they are abstract in all the right ways and never simply sound like a singer talking about himself. For another... well, I have one word for you: songwriting. These are clever, melodic, unpredictable, and frequently stunning songs that Paul McCartney would have been proud of--and I mean 60s Paul, not current washed-up Paul. To make a long story short, if you are genuinely interested in music, don't avoid this album because of the hype: you owe it to yourself to listen. You might be disappointed. But I doubt it.

Undertows and updating: it still works very well .......2007-04-26

Like Grant McLennan of the Go-Betweens, Elliott Smith could come up with songs catchy enough to haunt you when you're nowhere near a CD player, an MP3, or an iPod and won't be for a few hours. 'Baby Britain' has hooks: by the twelfth listen you realize it's not really a happy song. 'Waltz #2' may be derivative... or it may be inevitable, distilled into a tune and a sentiment that won't let go...

Obvious stylistic comparisons to the Beatles and to the Beach Boys aside: what makes Smith's stuff so memorable is this ability to synthesize these influences and to add the indie sensibility to it. He has been compared to Nick Drake; how about a few shades darker and a few decades later than Brian Wilson? What mild profanity there is here serves a forthright presentation of contemporary, rather confessional subject matter. Perhaps a bit depressing in large doses: but while not an inventive musician, the vulnerable, appealing Smith was definitely an innovator.

Triumphant leap!.......2007-02-22

XO is my favourite Elliott Smith record. This is the first big budget, polished album he produced. Where his earlier material was stripped down and had an off-the-cuff feel, XO has Smith sounding more like a full band. The sense of melody and timing on XO is always impressive and the lyrics remain as personal and unmediated by cliche as ever. It makes you think of the pop sensibilities of The Beach Boys and The Beatles but comes with vividly introspective, spookily relatable lyrics. At times it also has a more jagged, rock edge: "Amity". The best place to start and the most consistent record.

Amazing and Just Perfect.......2007-02-05

I discovered Elliott Smith late. A friend who knew I was a long time Nick Drake fan gave me this cd, very intuitively! I found it to be full of well-crafted catchy pop songs, lyrically advanced and ever amusing.

It is mostly acoustic guitar and voice heavy, although more lush and fully produced than his previous works. That is a good thing! I find the sound of both infinitely pleasing. Elliott Smith has a gentle voice that is never annoying.

The best thing about XO is that it sounds like a greatest hits collection. There's not a bad song in the bunch. My favorites change regularly; right now I most enjoy the beautifully sweet but lighthearted Pitseleh, Independence Day, and Bottle Up and Explode!

One warning: Don't listen to the haunting track 14: I Didn't Understand, while very depressed. It won't help.

Digging Deaper
the kid had talent
a cd for teenagers
The Most Underappreciated Album of the 1990's?
Mr. Smith's Best.

Either/Or
Elliott Smith
Manufacturer: Kill Rock Stars
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000373U
Release Date: 1997-02-25

Tracks:

Speed Trials
Alameda
Ballad Of Big Nothing
Between The Bars
Pictures Of Me
No Name No. 5
Rose Parade
Punch And Judy
Angeles
Cupids Trick
2:45 AM
Say Yes

Amazon.com Music Reviews

Blessed with the voice of a wispy angel, Elliott Smith creates sad little pop songs, which, like the work of Nick Drake (to whom he's been compared) threaten to disappear into the night air. Several of the tracks here were featured in Gus Van Zant's movie Good Will Hunting, and they're among the album's best (though "Miss Misery," nominated for an Academy Award is only available on the soundtrack album). "Angeles" and "Say Yes" are bittersweet laments that feature Smith's idiosyncratic guitar picking, which is well served by the album's decidedly low-fi production. --Rob O'Connor

Customer Reviews:

Digging Deaper.......2007-03-23

Fans new to Elliot Smith should consider getting the more fully produced "XO" or Figure 8" as an introduction. If your looking to dig a little deaper, this CD will not disaapoint. Angeles, Cupid's Trick and Alameda are standout tracks, but the whole album has Elliot's hauntingly familiar, yet original sweet harmonies.

the kid had talent.......2007-02-07

as everyone knows, elliott smith had a hell of a gift....

a cd for teenagers.......2007-01-04

I purchased the cd because of the posted reviews. Those reviewers obviously liked the self centered, self indulgent, depressed, simplistic lyrics. It seemed to droan on and on for ever....It wasn't worth the time.
Sorry---I'm over 30 and am not interested.

The Most Underappreciated Album of the 1990's?.......2006-12-15

Elliott Smith is kind of like Tom Petty, in that, he has songs that are not steller, but he does not have a single bad song.

"Good Will Hunting," directed by Gus Van Sant in 1997, was a better than average movie that would launch the careers of two major stars and re-establish Robin Williams as a great actor. The film would also bring attention to Elliot Smith; one of the greatest singer/songwriters in music history.
Smith's song "Miss Misery" appeared in "Good Will Hunting" and would garner an Academy Award Nomination for best original song. Unfortunately, or perhaps fortunately for the shocked and bashful Smith, "My Heart Will Go On" from "Titanic" took home the award that night.
Smith was born in the Midwest and raised in Texas, although it would be Portland, Oregon that Smith would call home for the majority of his life. After college Smith played guitar in the band Heatmiser. They would go on to release three full length albums together before Smith left the group to pursue his more successful solo career.
"Either/Or," Smith's third album as a solo artist is arguably one of the best records of the 1990's and the best example of Smith as a brilliant songwriter. The album is essential in any music library and is all too often overlooked by the casual music fan.
Smith's first album "Roman Candle" and his self-titled second album consisted solely of Smith's signature "whispery" vocal style and his acoustic guitar. "Roman Candle" is criticized by some for its poor production values, despite its solid songs. "Elliot Smith" is cited by some as the best album Smith ever released and is the best example of Smith and his acoustic guitar side by side.
"Either/Or" would follow the same basic template of Smith accompanied solely by his acoustic guitar and angelic voice; however, Smith began to incorporate electric guitars, drums, bass, and even keyboards on some tracks `all played by Smith.'
From the outset, "Either/Or" was different from any of Smith's previous records because it was the first time people were really starting to notice him. When asked by David Peisner in a 1998 interview about the pressure surrounding "Either/Or" smith replied; "I didn't have a hard time making it, I had a hard time letting it go. I had a hard time deciding what songs to put on it. I had a hard time after the fact but it was easy to record."
Beginning with the stellar "Speed Trials" and following with "Alameda," Smith sets the template for what is to follow throughout the album; an absolutely beautiful voice accompanied by an acoustic guitar, with the occasional drum beat thrown in the mix.
"Between the Bars," one of three songs off of "Either/Or" that would be selected for "Good Will Hunting," and is one of the most haunting and endearing songs Smith would ever record. According the Adam Carson of AFI, "my favorite Elliot Smith track. Haunting, beautiful and intimate."
"Pictures of Me," is the most "done up" track on the album and contains lyrics suggesting that Smith is sick of the recent press that he had been receiving.
"Rose Parade" contains one of the most memorable guitar intros in history and the song itself is one of Smith's strongest.
"Angeles" is another song that was chosen to be included in "Good Will Hunting" and is viewed by many as the strongest song on the album as well as perhaps the greatest song Smith ever sang. When describing "Angeles," Jade Puget of AFI would say, "my favorite acoustic song of all time. There are some songs you just wish you had written..."
"Say Yes," the third song chosen for the movie, ends the album on a rather uncharacteristically positive note, but continues the stripped feel of the album.
In October of 2003 Smith would die from two self-inflicted knife stabs. Smith had a long standing heroin addiction, and he also suffered from severe depression. Despite his suicide, Smith has not been canonized as a deity in the way many other dead rock stars have been.
After "Either/Or," Smith would release three more critically acclaimed albums, including the stellar follow up to "Either/Or," "XO."
Smith has never gotten the commercial acclaim that dead artists such as Jeff Buckley went on to achieve, although Smith certainly does deserve it. People can argue over whether or not "Either/Or" is truly his masterpiece; it is however a truly great album by one of the truly great musicians of the last 25 years.

Mr. Smith's Best........2006-10-13

I have owned this album for a few years. I always liked it, but I just didn't give it the time it deserved. When I bough XO earlier this year, I absolutely fell in love with Elliott Smith. I played that album a million times, as it was immediately accessible to me. I was convinced that it was better than Either/Or. However, when I decided that I would give Either/Or another spin, the greatness of that album jumped right out at me. I heard the songs like I had never heard them before, and as I kept listening to Either/Or, the songs kept getting better and better. Either/Or is my favorite because it is not as heavily produced as XO, which gives the songs more meaning to me, but it is more diverse than Roman Candle or his self-titled album. The songs are more somber and subdued than his songs on XO, but they are not as flat-out depressing as his earlier stuff (which, don't get me wrong, is still amazing). His lyrics on this album ring even truer to me now than those on XO. It just took me an extra step (XO) to get to this masterpiece. My advice for new listeners is to start out with XO, and then when you need another Elliott Smith, immediately buy this one. Once you fall madly in love with this album, all of his other albums should be greatly enjoyable to you as well.

Getting Better all the Time
Early Lo- Fi to a More Lavish Multi-layered Release....
Musical masterpiece
Overlooked, but possibly his best
dear elliott smith fans,

Figure 8
Elliott Smith
Manufacturer: Dreamworks
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004S6GL
Release Date: 2000-04-18

Tracks:

Son Of Sam
Somebody That I Used To Know
Junk Bond Trader
Everything Reminds Me Of Her
Everything Means Nothing To Me
LA
In the Lost and Found (Honky Bach)
Stupidity Tries
Easy Way Out
Wouldn't Mama Be Proud?
Color Bars
Happiness
Pretty Mary K
I Better Be Quiet Now
Can't Make a Sound
Bye

Amazon.com

The story of Elliott Smith is well known now: Shy and reclusive indie rocker soars to a Hollywood soundstage and major-label contract. His fans gasped in collective horror when he took a bow at the 1998 Oscars, his hand clasped by Celine Dion. He seemed far too fragile to survive among the sharks and vultures on the corner of Hollywood and Vine. But as his subsequent albums XO and now Figure 8 show, Smith has weathered the spotlight successfully and is moving ahead with self-assured grace. The beauty of Figure 8 is that it encompasses Smith's musical virtues, from the stark and wispy tunes of his lo-fi beginnings on Roman Candle to the orchestrated, Beatlesesque pomp and circumstance of later work to the intimate and sometimes painful nature of his live shows. Figure 8's opener, "Son of Sam," is as good as anything Smith has ever crafted, its soaring melody buoyed with lush instrumentation and a tin-pan-alley piano romp. "Happiness" is vintage Smith, its lyrics belying the title. But best of all are "Everything Reminds Me of Her" and "Everything Means Nothing to Me," which capture the dichotomies of Smith's music. The first is a lovely, delicate little tune--just Smith's wavering voice, a plucked guitar, and the plaintive lyrics of unabashed longing. The second is a layered soundscape, heavily produced, with washes of music covering a repeated lyrical line. One is direct, naked, and honest; the other is slippery, distant, and rational. These are the yin and yang of Smith's music, and it's the friction between the two--or, more accurately, the wreckage from one obdurate truth bashing up against the other--that makes Figure 8 resonate with such devastating power. --Tod Nelson

Customer Reviews:

Getting Better all the Time.......2007-07-20

Figure 8 sounds good at first listen, and only gets better the more you hear it. Hyperbole is not needed-- who wants it? But still: you know Pet Sounds, Sgt. Pepper, Led Zeppelin and that kind of music? Figure 8 is like that; it's as innovative, moving, ingenious as any record I've ever heard.

The artist was reportedly very disappointed by Dreamworks' promotion of the album, leading him to threaten suicide unless he were allowed to exit the pernicious snare of his recording contract. And it's not too hard to imagine how he might feel that way. One doesn't doubt that Dreamworks' intentions were good (Lenny Waronker certainly had had ample opportunity to recognize genius). But undoubtedly Figure 8 is an unprecedented tour de force & merits a special page in pop/rock music history--for the brilliance of its songs, its musical arrangements, its breadth of vision, its eclectisism, and the sheer playing ability on it. Setting out in the direction of Beatles' White Album/Abbey Road era wizardry, Figure 8 surpasses, in some ways, it's antecedents.

Although some Elliott Smith lovers feel deceived by Figure 8-- comparing its lack of intimacy with the starkness and simplicity of his earlier (pre-Dreamworks) work-- in terms of musical achievement the distinction is groundless. The artist himself is on record as having said that the spareness of his early albums was largely a function of the musical wherewithal he could not afford to purchase at the time. Here, in Figure 8, with a vast array of musical instruments and recording equipment at his disposal, he is able to paint, on a much larger canvas, the symphonic depth discernible in the simple acoustic three-note chords of "Needle in the Hay."

So what's so great about Figure 8? It kicks off with a hardrocking song, "Son of Sam," in which Smith confides that he has more in common with a (couples) serial killer than with the listener, and then seques into the acoustic guitar strummings of "Somebody That I Used to Know", in a way reminiscent of the one-two opening punch of "Back in the USSR"/"Dear Prudence" on the Beatles' White Album. Indeed, Figure 8 initially reminded me of the White Album. But Figure 8 is not about homages. It represents the new directions Smith was going in at that moment in time, now he could afford it. (He lost a few friends, gained a lot of consoles.)

"Son of Sam," begins with guitar and piano in the foreground, "God Only Knows"-like in its "composite" instrumental sound, i.e., multiple instruments in unison creating kind of another instrument. In the song's intro, the effect is produced by piano & guitar moving together note for note (there are lots of other guitars and pianos going on in the song besides these.)

However, "I Better Be Quiet now," is the song that most struck me on first listen to the album. Three songs from the end of the album, it would have made a perfect so-bittersweet-it-feels- good closer to the album, but the formerly living artist known as Smith had other ideas. The song is a restrained, meditative tune addressed -- apparently-- to a loved one, away from whom the singer is retreating. As he backs away, whispering goodbye, he confesses his feelings (loneliness), how he thinks he's going to deal with them (get further away), and his progress so far (a long way to go, but getting further all the time). It starts out:

"Wish you gave me your number, wish I could call you today,
just to hear a voice,
I got a long way to go, I'm getting further away
If I didn't know the difference,
living alone would probably be ok, it wouldn't be lonely
I've got a long way to go, I'm getting further away."

The words "just to hear a voice" (not "just to hear your voice") is telling, intimating a dialogue set inside a monologue. Because if the speaker were really addressing another person, he wouldn't be getting further away. It's a nice lyric, reminding me in some ways of Swann's strategy for dealing with unrequited love in Proust's novel "Swann's Way." (Hey, Elliott Smith was a philosophy major!)

With a very sweet melody, the musical accompaniment of "I Better Be Quiet Now," is basically 12-string acoustic guitar, with a chord progression something like that of George Harrison's "Isn't It a Pity." But whereas "Pity" is dirge-like, "I Better Be Quiet Now" is sounds like a vivid, wispy daydream. Noteworthy production & instrumental features to listen for in this song: 1) the electric guitar entering around "Had a dream as an army man with an order just to. . .," it's a restrained little etude/filigree reprising the doubled-up intro notes to the song's acoustic instrumental break, with notes so unobtrusive that they seem to be conjured from the guitar sans plucking, and 2) the instrumental mix of the last verse, where backing vocals announce themselves while acoustic & electric guitars interweave, creating the composite sound of an organ (or is it actually organ?-- you decide).

Also making this record special are the remarkable orchestral arrangements. Usually orchestras in rock or pop music songs sound like extrusions from another medium. With Elliott Smith, the orchestra is set in the interior of the song, a part of its beating heart. Thus, it's not a question really of orchestral arrangements, as such-- rather, the orchestra fits in as another (albeit grand) instrument in the song. An example: the orchestral background in "Color Bars," which make the crescendos in "A Day in the Life" sound like schmaltz. In the song, "In the Lost and Found," the sugar-coated piano-plunkings of the opening verses to "In the Lost and Found," begin to get enswathed, about midsong, in a descending cloud of orchestral dissonance. Beneath the murky minor key liturgical atmosphere, you can still barely make out the piano happily plunking away, until the spell falls away and the piano's jolly notes are once more in the spotlight, pleased with themselves as ever.

Some curious things to notice in Figure 8: War references, or something related to the armed forces, in almost every song. (Kind of the way Bob Dylan uses the word "brain" in almost every song on "Modern Times.") The dreamy instrumental composition that floats into view and dances for a few seconds at the end of "In the Lost and Found." The eerie, ebbing and surging notes of "Bye," the last song on the album (and his last supervised song on record) which seem to waft up from a chamber from down a staircase below, not to mention the inexplicable click . . . click . . . click going on down there. The "I'm not afraid to die" lyric in "In the Lost and Found," that brings to mind "King's Crossing"'s "I can't prepare for death any more than I already have," as well as the silly honky-tonk/gloomy gothic juxtaposition of both songs.

The point of the Elliott Smith, and his music, so richly represented in Figure 8, is not that he was depressed, mopey, or morose-- however interesting some people may find that and true it may be-- but that he could compose, arrange, and play the socks off of almost anyone working in the pop/rock music field-- while going relatively unnoticed.

This brings me to a last point. I can listen to Elliott Smith a lot, because the melodies & arrangements are so beautiful, & the lyrics are thought-provoking and moving-- you'll find when you get into it, that his music can be irresistible. Also, if you realize how good he is, you may tend to regret the incommensurate appreciation he received for it in his lifetime-- no one built any meadows in Central Park for him, instead of being compared to musical legends, he always gets lumped in with Nick Drake, etc. One wishes more for him. But I can get too much of him, too. There is, lyrically, a relentlessness to his dark take on things and to his adolescent-- sometimes pre-adolescent-- viewpoint, that can become monotonous. You are often hearing, over and over, the voice of a hurt little boy-- it's there in the yearning, the recriminations, and the obscenities. Much of the authenticity of the singing arises from it, though. If you like good music, you keep coming back.

Early Lo- Fi to a More Lavish Multi-layered Release...........2007-03-29

Steven Paul Smith was born on August 6, 1969 in Omaha. He later changed the name Steven to Elliott. He felt it sounded less "jock-like."
I do believe Elliott Smith had a really amazing if not sad and lonely kind of voice. I can feel a bit more uplifting type of mood coming from Elliott Smith's Figure 8, his best and last studio record before he died. Ever since the end of his band Heatmiser, his solo work became more personal and less abrasive. It's hard to imagine at one point he was part of just another small punk/grunge band, who not many have heard of.
Many would prefer "Either/Or." Which seems optimistic at times, but kind of sad to me. At this time few singer/songwriters could match Elliott's level of intensity through lo-fi "folk-punk" intimacy. That release sparked interest in the director of Good Will Hunting, Gus Van Sant- who used some of Elliott's songs for his picture. They met while Elliott lived in Portland. Also this exposure proppelled Elliott Smith to major-label status from Kill Rock Stars to Dreamworks. And then came XO in 1998. And Figure 8 in 2000. In my opinion this is his best. It flourishes with rich, multi-layered and more lush tracks. Not as intimate as his earlier solo works w/ the exception of "Everything Means Nothing to Me." This does seem happier though, at least compared to his other works. Definately one of the best solo albums and one of my favorites of this millenium. A wonderful timeless album from one of the better singer/songwriters after those "grunge era" days. My favorites here include: "Son of Sam"- "Junkbond Trader" -"Stupidity Tries" - "Easy Way Out" - "In the Lost & Found" -(for this song Elliott uses the same Abbey Road piano Paul McCartney played on "Penny Lane")
Elliott Smith has always been a long time Beatles fan. Even covered their song "Because"- which is on a import of Figure 8. I really do feel he approaches a kind of greatness w/ this almost perfect solo work. I just wish he was still alive creating more.
It's just really sad the way Elliott Smith died. Two stab wounds in his chest from a kitchen knife. And I believe the coroner at the time never came to a conclusion whether it was a homicide or a suicide. His death was on October 21 2003.
I give Figure 8- 5 stars. It is my favorite Elliott Smith album, if you haven't heard Elliott Smith before you really should give this a listen. Or pick up "Either/Or" if you like a softer sound, but both are essential from him.

Musical masterpiece.......2006-10-11

I would agree with Patrick Burnett's comments from 5 years ago. I recently ended a relationship and Elliott has been on repeat since the summer. His music fits perfectly with those moments where you feel like there is nothing left. But in a way, the beauty behind his music lifts your spirit like nothing else. "Everything Means Nothing To Me" was the first song I ever heard from Elliott just last year and it is a small portion of the brilliance found throughout this whole album.

The acoustically amazing "Somebody I Used to Know" and "I Better Be Quiet Now", the very Beatlesque "Pretty Mary K" and "Happiness" are just a few of the standouts in my mind. "Bye" is such a haunting album-ender that gives me chills everytime I hear the echo of the piano.

"Figure 8" has such a wide variety of sound that only a musical genius like Elliott Smith could create. His soft angelic voice along with beautiful melodies make this an album that will forever be labeled "perfection" in my mind. Rest in peace Elliott, your spirit lives on.

Overlooked, but possibly his best.......2006-06-05

Many "hardcore" Elliott Smith fans seem quick to judge and often pass this record off as "too over-produced", or the lyrics aren't as personal as past records. It couldn't be farther from the truth.

This record is the sound of an artist coming into his own, maturing, experimenting. It's still Elliott Smith through and through, there's no doubt about that. Some of the lyrics are a little more abstract- but they just require more patience and repeated listens to truly appreciate.

Elliott Smith crafted some of his best works of art on this album. He really accomplished some beautifuly constructed songs. I first heard this album after Either/Or and Self-titled, and my first impression was that it sounded more plugged in, obviously. But upon really listening to the album, it opens up and becomes so much more. Songs like 'Junk Bond Trader' or 'Can't Make A Sound' become amazing pop masterpieces. There are also enough songs similar to Elliott's past minimalist approach, just more polished than before.

Smith himself had stated that he didn't prefer big studios with high-tech recording equipment to stripped down efforts, or vice-versa... just that they were two different styles each unique to themselves, and that he enjoyed experimented with both. He really accomplishes that here and it's worth owning.

dear elliott smith fans,.......2006-06-04

i highly recommend dancing to this albumn, figure 8. it is the only elliott smith albumn i can dance to and it is my favorite albumn to dance to. of all,by all,and of all time that may or may not be danceable. it will make your feet float and sometimes you'll bend way back. sometimes you'll walk instead of dance other times you'll just stop to hear his voice. at the end of this record you ascend to the great spirit in the sky. give it a whirl,
Earl

Only a couple of worthy songs on it
Through the Looking Glass...
Emotionally and musically sublime.
Elliot Smith - Awsome Album
it's just a fond farewell to a friend

From a Basement on the Hill
Elliott Smith
Manufacturer: Anti
ProductGroup: Music
Binding: Audio CD

Lo-Fi | Indie & Lo-Fi | Alternative Rock | Styles | Music

Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music

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Similar Items:

XO
Figure 8
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Elliott Smith And the Big Nothing

ASIN: B0002SROT0
Release Date: 2004-10-19

Tracks:

Coast to Coast
Let's Get Lost
Pretty (Ugly Before)
Don't Go Down
Strung Out Again
Fond Farewell
King's Crossing
Ostriches & Chirping
Twilight
A Passing Feeling
Last Hour
Shooting Star
Memory Lane
Little One
A Distorted Reality is Now a Necessity to be Free

Amazon.com

Posthumous releases fall into two categories: those which the artist was working on at the time of their death, and those which are gathered from every nook and cranny to keep fans enthused and cash registers ringing. Elliott Smith's from a basement on the hill is of the former variety. It was close to completion at the time of his untimely death. Over the course of the set's 15 songs, Smith's powerful songwriting and production skills are shown in their full breadth. From thickly interlocked chordal guitar riffs ("Coast to Coast") to shimmering melancholia ("A Fond Farewell"), the songs are each brought to their own particular focus by whatever means were most appropriate. There are lush background vocals, keyboard washes, pounding rhythms, and heart rending balladry. This disc is a sad goodbye to richly emotive artist. --David Greenberger

Album Description

Elliott Smith has been a patron saint of the indie scene since his days helming Portland heroes Heatmiser. As a solo artist, his fondness for Beatlesque melody led to some of the most beautifully orchestrated pop of the last decade. This is his final recording, which found him returning to an edgier, guitar-driven sound, alongside his trademark heart-rending balladry.

MUZE Notes: Elliott Smith's death in 2003 left a cavernous hole in the world of popular music. Tender, intimate, and painfully honest, the songs in Smith's catalogue capture the fragility of human existence with rare, breathtaking beauty. On his first posthumous release, Smith reaffirms his status as an extraordinarily gifted artist, giving fans yet another reason to mourn his tragic loss. Conceived as an ambitious double album, FROM A BASEMENT ON THE HILL was ultimately narrowed down to 15 tracks by Smith's close friends, producer Rob Schnapf (Beck's MELLOW GOLD, Smith's X/O) and musician Joanna Bolme (the Minders, Stephen Malkmus & the Jicks). The result is a heartbreaking collection of songs that plays like a retrospective of Smith's entire career. "Strung Out Again" reflects the early edge of ROMAN CANDLE; "Last Hour" recalls the bittersweet melodies of ELLIOTT SMITH; "A Fond Farewell" is a sad anthem in the tradition of EITHER/OR; "Shooting Star" employs the more polished sound of ! X/O; and "Don't Go Down" is an extension of the more electrified FIGURE 8. Of course, the most haunting aspect of FROM A BASEMENT ON THE HILL is the lyrical content, which is impossible to hear without placing it in the context of Smith's untimely passing.

Customer Reviews:

Only a couple of worthy songs on it.......2007-06-18

My apologies to all you die hard Elliot Smith fans. I'm a newbie and only liked a couple tracks. He's worth checking out though.

Through the Looking Glass..........2007-06-10

Like Alice in Wonderland, "From a Basement" leads the listener into a world where things are just slightly askew, but strangely beautiful and awe-inspiring at the same time. "Basement" was my first introduction to Elliott Smith and I was instantly hooked, lured into the music by easily recognizing the heavy influence of The Beatles, and being reminded in more than one cut of the dream-like essence of Pink Floyd. Now here was someone that had my attention ! Of course, by then, Elliott had sadly been long gone. Having gone back and listened to the earlier cds prior to "Basement", I understand why some of his long-time fans were puzzled a bit by this release. It is a break from his traditional style, but does follow the path set by "Figure 8". Each track on "Basement" has its own allure, and you may find that it is a cd that takes multiple listenings before you realize that lyrically and musically it has gotten under your skin and nothing will do except to hear it again and again. A beautiful piece of work, and one that will make you wonder just how far Elliott could have transported us had he not been taken from us way too soon.

Emotionally and musically sublime........2007-06-07

This is by far more emotional than almost any other album I've heard. I've loved Elliott's music for some time, and when I think of other groups or artists I can't think of many that are able to convey emotions as well as he did.

My favorites are probably "Twilight" and "Coast to Coast," but the whole disc gets me going.

If you like albums with diverse sounds, raw emotions, well-written lyrics and melodic chords/vocals - this is it.

If you like Elliott, I'd also suggest Joshua Radin and Priscilla Ahn.

Elliot Smith - Awsome Album.......2007-05-30

Elliot Smith is one of the great musicians of our time. This album is the last of his recordings before his death. Each song is delivered with the tortured whisper that Smith is so often trademarked for. Delivering his thoughts with both clarity and subtle emotion this album is an insight into his tortured soul. The album is suprisingly more distorted than most of his work. He voices anger with the bewildering screech of his elctric guitar. The most impressive song is 'Kings Crossing.'Its smoothe organ and stunning percusion evoke both a mood of agression and haunting beaty. Overall this album is most impressive in its depressing lyrics that speak true with ever word. This album is a man on the edge of insanity. It is his gift to us that we may begin to understand him through his music.

it's just a fond farewell to a friend.......2007-05-19

This is one of the most depressing releases of all time. If you are a fan you probably already own it.

Anyway, this album is the biggest downer of all of his albums (to me at least). Part of the reason that I get so depressed every time I listen to it is: as a musician I know I'll never write songs so epic and beautiful as this.

Just remember: whiskey really does work better than beer. (oh yes, he WAS a genius).

Help. Why is this guy so highly regarded.
new fan
Desert island pick #1!
My favorite Elliott Smith album
Absolutely wonderful...very deep.

Elliott Smith
Elliott Smith
Manufacturer: Kill Rock Stars
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Figure 8
XO
From a Basement on the Hill
New Moon
Mic City Sons

ASIN: B00000373G
Release Date: 1995-07-21

Tracks:

Needle In The Hay
Christian Brothers
Clementine
Southern Belle
Single File
Coming Up Roses
Satellite
Alphabet Town
St. Ides Heaven
Good To Go
The White Lady Loves You More
The Biggest Lie

Amazon.com essential recording

Recorded mildly better than his debut (Roman Candle on Cavity Search), the self-titled second solo album is one of the most understated and incredible albums to emerge from the indie-rock scene in the 1990s. With his nimble picking fingers behind him, Smith writes sad, little songs about drugs and romantic codependence that border on the obsessed. "Needle in the Hay" and "The White Lady Loves You More" are exemplary tunes that fuse the Beatles' pop sense with Neil Young's sense of doom. Lying in his own burned out basement, Smith can rough up the gentlest love song with a few salty words of choice. --Rob O'Connor

Customer Reviews:

Help. Why is this guy so highly regarded........2007-06-16

Despite what many folks might say, its a wonderful time to be a music fan. Given the informative power of the internet combined with the fact that a majority of worthy music finally has (and still is) making its way onto Compact Discs. We have the power to sample, pick and choose music from around the globe. Bliss. I am still discovering stuff from the 70s, that I missed when I was a kid. So why am I jibbering on about this when this is supposed to be an Elliott Smith review? I think I wanted to point out that if you think this is good. And given the reviews, many people love this guy - You have reached some sort of bottleneck in your quest for music. The material, as on all of his records, is mediocre at best. Some say its dark, contemplative, beautiful and deep. It try's to be, but like a weakling trying to do a pull-up, it just can't get its chin over the bar. And on top of that, it is sorely deprived of any thing musically redeemable. You want thought provoking lyrics? No not hear. You want cool alt-pop that sticks in your head? Sorry, try again. And these are actaully the types of things Elliott Smith gets credit for. I am completely convinced that this guy is both melodically and harmonically challenged. If anything, I will say that he is consistant. Creating one forgettable tune after the other without even stopping is maybe something to be proud of. You would think just by chance be might stumble onto something good, I mean they do keep letting him make records. There is so much better out there in the genre of 'whimsical, quasi-dark, singer soungwriters'. You can say that I don't get it. I don't.

new fan.......2007-03-19

i originally heard the first track on this album while watching the Royal Tenenbaums. I liked the song so much i bought this album. I am a new fan of elliot smith's music.

Desert island pick #1!.......2006-07-23

"Self-Titled" is without a doubt, Mr. Smith's finest hour. Many people feel that this recording is too sullen---but I think it is beautiful in a spiritual way. Elliott Smith was the most gifted songwriter of his generation. Upon first listen I was not as impressed as I was with Roman Candle & Either/Or, so it stayed in its case for a couple of weeks. After a couple of weeks went by I thought I would give it another whirl after watching "The Royal Tennenbaums." I was, and still am, completely addicted to this cd. I need almost like oxygen. It is without a doubt my favourite recording of all time. As soon as "Needle in the Hay" begins with that doomed, yet heavenly A minor chord--Mr. Smith takes you on a ride. Every song is stellar. The recording sounds a bit like opiates would when they take effect for the first time, and is just as addictive. Songs like "Satellite" and "Alphabet Town" make you wanna cry tears of joy in that music could be so brilliant and emotionally effective. "The Biggest Lie" is a wonderful closer, via leaving the listener feeling a bit optimistic and hopefull. Everytime I finish this album I am always a bit catatonic and emotionally drained as if i had just fallen in love, lost a close brother, detoxed on heroin, driven 12 hours, and fallen in love again among a setting sun skyline. Any artform that can have that effect on listeners will always remain timeless. Every music fan should have this one!!!

My favorite Elliott Smith album.......2006-04-20

Elliott Smith (R.I.P.) is my favorite artist of all time. I have found something in his music that I have not found anywhere else. This album (his second) without a doubt conveys that "something" the most.

Some may say that this album is very depressing and melancholy but I believe that it conveys a plethora of various emotions (such as depression, insecurity, anger, jealousy, gratefulness, and so many others). I love the different feelings that Elliott's guitar playing alone can transmit. He can play so softly and with such beautiful chords that you feel comfortable and warm, or with such force and passion that you can share his feelings. The finger picking on "Satellite" is very pretty and technical. One thing I also really like is the harmonica on "Alphabet Town". I think it adds a good low to compliment his boyish and angelic voice. And his voice...where do I begin? He can sing a note so raspy and edgy as to enunciate pain, disgust, and emptiness. And yet, he can sing out so clearly that it sounds like it was sung by angels. Sometimes he sings barely above a whisper and the song sounds like a lullaby. In "St. Ides Heaven", he does a mesmerizing duet with Rebecca Gates. And let's not forget the lyrics on this album, which are absolutely breathtaking. Some deal with Elliott's heroin addiction, others deal with death and choices, among other things. My least favorite song on the album is "Southern Belle", but that song is still a 5/5. Point being: there is not a single bad song on this cd. If you don't mind the language in "Christian Brothers" and you like intimate and chill music then there is no reason or excuse you can give for not having this album.

*It is just such a shame that Steven Paul (aka Elliott) had to leave the way he did. I will never understand the pain he felt, but he will be deeply missed. Although he is gone, his spirit lives through his amazing and innovative music. Elliott has inspired me so much and I wish I could've seen him once or met him or something. But oh well. Thanks Elliott. Anyway, amazing record. Go pick it up.

Absolutely wonderful...very deep........2005-12-31

I heard the name somewhere...where, I thought to myself, "Alex must listen to him." I thought I'd surprise her and learn the lyrics, so that we could sing the songs together in rush-hour of the busy grid locked traffic of Minneapolis when I visit her. On this whim I purchased the album and was shocked initially by the musicianship of the record (as a musician myself, I'm on an infinite search for music which makes me want to play). Soon after this realization, I then came to the second realization that Elliott uses words to express ideas very delicately and profoundly.

I listened to this album for four days straight and still loved it. The record is incredible portrayal of life; full of desperation, and hope. Elliott's voice would not likely be found on American Idol (Raspy and quite), but this adds to the feeling of the album. Elliott's voice assures the listener that "this is real...this is life", it's always a splendor to find an artists who is so uniquely original.

...As I sat on the phone talking to Alex, I began to sing the lyrics of "Clementine". She said it sounded beautiful, and she was curious..."Who is that?" That was a huge surprise. I still wonder how I heard of him.

As with any artist I love, I research them and try to learn a little bit about them, interviews, articles and reviews. Unfortunately I found the news that Elliott had ended his own life in 2003. I was incredibly saddened by this Elliott was and is still an incredibly wonderful, deep and enchanting musician.

the "point a" of Elliot.
Great Album
beautiful
A glimpse inside the audio diary of Elliot Smith
Three Cheers

Roman Candle
Elliott Smith
Manufacturer: Cavity Search
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Figure 8
XO
From a Basement on the Hill
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Good Will Hunting: Music From The Miramax Motion Picture

ASIN: B000003D90
Release Date: 1995-07-14

Tracks:

Roman Candle
Condor Ave.
No Name #1
No Name #2
No Name #3
Drive All Over Town
No Name #4
Last Call
Kiwi Maddog 20/20

Amazon.com

A member of the band Heatmiser, Elliot Smith recorded home demos on any equipment he could get his hands on. His first "solo" album is a cheap four-track home recording that hints at the melodic possibilities Smith would explore in greater detail on subsequent releases. The title track is remarkable but with four songs referred to in sequential order as "No Name #1," "No Name #2," etc. ... the inspiration isn't always fully firing. Blessed with a quiet angelic voice and a lyrical mind that easily transforms the squalid details of everyday life into something worth hearing about twice, Smith stood on the verge of getting it on. With his next, self-titled release, he did.--Rob O'Connor

Customer Reviews:

the "point a" of Elliot........2007-07-24

4.46 stars.

for anybody who even half-way enjoys the one-man-and-a-guitar stylings of pre-"figure 8" Elliot Smith, go ahead and make that collection complete by snapping up a copy of "roman candle". i bought this album for that reason alone and wound-up very much enjoying it.

the opener, from whence the album takes its title, is enough to justify the purchase price, but that's not to say that the rest of the album is anything to simply gloss over. Elliot fans who, like myself, became such because of the "good will hunting" soundtrack will be happy to have a familiar friend along the way in the form of "no name no. 3". also, the sinister swell that "last call" delves into as it comes to a close is pretty ded-gum neat, so be sure to check that out as well.

i only rate this album a 4 instead of a 5 because i DO NOT wish to give the impression that i find it to be on par with "Elliot Smith", so if you are trying to decide between the two of them, hit that other one first. however, if after injesting that one you like it as much as the rest of the Elliot-lovin' free world does, be sure to get ye back out into thine music-gettin' landscape to procure a copy of "roman candle" for yo'self as well. enjoy!

Great Album.......2007-04-17

This maybe my favorite Elliott Smith album next to Either/Or. I would purchase this album with Either/Or if I were just getting into Elliott Smith. It is a very chill album to listen to while driving at night, doing homework, or going to sleep. Elliott's acoustic guitar playing and lyrics are very well arranged. Give it a glance.

beautiful.......2007-03-13

i bought this cd completely on a whim at a local cd store. it took a few listens for certain songs to really sink in, but now i absolutely love it. No Name #3 and Condor Avenue are worth the price tag alone

A glimpse inside the audio diary of Elliot Smith.......2007-03-05

This unpretentious cd is sparse and mysterious as was the late recording artist himself, who died under mysterious circumstances shortly after receiving critical acclaim. I think it is the best representation of Smith, who has other more polished cd's that seem to have somehow missed his essence. This one seems to have been recorded early on, low-fi in a basement or bedroom, and lets you get up close to him without studio intervention. There are many tracks that don't even have bass or drums, just guitars and voice. The tunes are haunting and insecure, but will soon get right under your skin. This is no high-gloss commercial venture, but more like a glimpse inside somebody's audio diary.

Three Cheers.......2006-07-16

Roman Candle has a very endearing adolescence to it much softer than Elliott's later work. An innocent recording of someone's youth.

Good Will Hunting: Music From The Miramax Motion Picture

Beautifully Done
Miss Misery
A genius film, a sharp soundtrack
Great soundtrack.
nearly priceless.

Good Will Hunting: Music From The Miramax Motion Picture
Elliott Smith , Gerry Rafferty , and Al Green
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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